Wolfgang Amadeus Mozart Sonata para violin n.° 32 en si bemol mayor, « Strinasacchi » Vídeos
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Clara Haskil Arthur Grumiaux Wolfgang Amadeus Mozart Joseph Haydn Antonio Brunetti Brunetti Strinasacchi Alfred Einstein Beethoven 1523 1756 1765 1775 1777 1784 1791 1956 2021
Wolfgang Amadeus Mozart +••.••(...)) The Violin Sonatas by Haskil & Grumiaux / Remastered. Qobuz (http•••) Tidal (http•••) Spotify (http•••) Youtube Music (http•••) Apple Music (http•••) Amazon Music (http•••) Deezer (http•••) Amazon Store (http•••) Napster (http•••) Soundcloud (http•••) LineMusic日本 (http•••) Awa日本 (http•••) 00:00 Violin Sonata in B flat Major K. 454 - I. Largo, Allegro (Remastered 2021) 07:14 Violin Sonata in B flat Major K. 454 - II. Andante (Remastered 2021) 15:23 Violin Sonata in B flat Major K. 454 - III. Allegretto (Remastered 2021) The remastered compilation of all the sonatas performed by Haskil/Grumiaux is available on youtube music ((http•••) or on the main platforms by clicking on the links above. Violin: Arthur Grumiaux Piano: Clara Haskil Recorded in 1956, at Basel New mastering in 2021 by AB for CMRR FOLLOW US on SPOTIFY (Profil: CMRR) : (http•••) Download CMRR's recordings in High fidelity audio (QOBUZ) : (http•••) ️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) (http•••)/ COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT*** Unlike Joseph Haydn, for one, Mozart had a close personal relationship to the violin. Trained according to the precepts of his father's celebrated violin tutor, which appeared in 1765, he soon developed into an excellent violinist. His ambitions as a violinist were stimulated by his contact with the foremost virtuosos of his age. True, he admitted in a letter of November 22, 1777 that he was "no great lover of difficulties," and the technical demands of his violin compositions — the sonatas and the five violin concertos that he composed in 1775 for himself and for the Salzburg violinist Antonio Brunetti — do, in fact, mostly remain within certain limits. But during his time as leader of the Salzburg orchestra, if not earlier, he acquired an intimate understanding of the special idiom of the instrument. In April 1784 the Italian violinist Regina Strinasacchi, then aged 20, visited Vienna. For her "academy" on April 29 Mozart wrote in the obligatory haste, his Sonata in B flat K. 454. He handed over the violin part to his fellow artist only on the evening before the concert. There was no time left to notate the keyboard part. However, Mozart managed the feat of performing it virtually extempore. At the concert he played just from a barren sketch containing a few annotations concerning accompanimental figures and modulations. Remarkably, the experiment succeeded. As a Viennese newspaper reported, the new sonata was received, in the presence of the Emperor, with "general approval." Mozart's very high opinion of Regina Strinasacchi ("Her playing possesses much taste and sensitivity") was confirmed a year later by his father Leopold after a concert in Salzburg: "She puts her whole heart and soul into the melody she plays, and her tone-quality and strength of tone are equally fine. Indeed, I find that a talented woman plays more expressively than a man." In Alfred Einstein's words, one passes "as if through a triumphal arch" from an impressive Largo to the main Allegro section of the first movement, which places the two partners in an absolutely ideal balance. The principle of dialogue, already present in earlier sonatas, is now developed further in masterly fashion. However, the concertante element which (in tribute to the excellent young violinist) informs both the opening movement and the rondo with its brilliant coda also deserves mention. Beethoven - Die Sonaten für Klavier und Violine (Century’s rec.: Clara Haskil, Arthur Grumiaux) Qobuz (http•••) Tidal (http•••) Spotify (http•••) Youtube Music (http•••) Apple Music (http•••) Amazon Music (http•••) Deezer (http•••) Soundcloud (http•••) Napster (http•••) Awa日本 (http•••) LineMusic日本 (http•••) QQ音乐 (http•••) Wolfgang Amadeus Mozart +••.••(...)) PLAYLIST (references recordings): (http•••)
Jascha Heifetz Wolfgang Amadeus Mozart 1936 1941 1947 2007
Provided to YouTube by NAXOS of America Violin Sonata No. 32 in B-Flat Major, K. 454: II. Andante · Jascha Heifetz · Emmanuel Bay Mozart, W.A.: Violin Sonatas Nos. 17, 26 and 32 / Duo for Violin and Viola, K. 424 (Jascha Heifetz Plays Mozart, Vol. 2) +••.••(...)) ℗ 2007 IDIS Released on: 2007-01-01 Artist: Jascha Heifetz Artist: Emmanuel Bay Composer: Wolfgang Amadeus Mozart Auto-generated by YouTube.
Giovanni Paisiello Cortés Ramón Usandizaga Usandizaga Ígor Markévich Sergiu Celibidache Lorin Maazel Sergiu Comissiona Eliahu Inbal Tales Álvarez Enrique Granados Isaac Albéniz Luis Pablo Cristóbal Halffter Tomás Marco Bach Haydn Richard Strauss Kärntnertortheater Teatro Real Madrid Orquesta Sinfónica Rtve 1784 1939 1965 1988 2006
De acuerdo con la fecha que el propio compositor anotó en la partitura, el concierto fue completado el 12 de abril de 1784. La fecha del estreno es incierta. Por una parte, parecer ser que el concierto fue estrenado por la alumna de Mozart, Barbara Ployer, el 13 de junio, de 1784 en un concierto en el que Mozart había invitado a Giovanni Paisiello las nuevas composiciones tanto suyas como de su alumna, incluyendo entre otros su Quinteto en mi bemol mayor para piano y viento. Más tarde, Ployer interpretó junto a Mozart la Sonata para dos pianos, K. 448. Otra posibilidad, anticipada por Lorenz +••.••(...)), es que Mozart no esperó dos meses para estrenar la obra, sino que la interpretó en su concierto con Regina Strinasacchi el 29 de abril de 1784 en el Kärntnertortheater. La obra está escrita para piano solo, flauta, dos oboes, dos fagotes, dos trompas, y cuerdas. Consta de tres movimientos: Allegro. Andante, en do mayor. Allegretto – Presto. Jesús Meliá Escrivá es un intérprete y concertista retirado de oboe español nacido en Riola, Valencia el 21 de junio de 1939. Inició sus estudios en Valencia, pasando después al Conservatorio Superior de Música de San Sebastián, donde estudió junto al profesor de oboe Antonio Cortés y el director Ramón Usandizaga, obteniendo el Primer Premio Fin de Carrera. Perteneció a la Orquesta Municipal de San Sebastián como oboe y corno inglés y en el año 1965 ingresa como oboe solista en la Orquesta Sinfónica de RTVE,1 hasta el año 1988 cuando pasa a dedicarse a la docencia como catedrático de oboe. Durante los 23 años dentro de la OSRTVE alcanzó las metas artísticas más altas del lado de grandes directores como Ígor Markévich, Sergiu Celibidache, Lorin Maazel, Sergiu Comissiona, Eliahu Inbal y un largo etcétera, actuando por toda España y por varios países europeos. Cabe destacar 2 giras de 35 conciertos por los Estados Unidos de América. De su programación destacaríamos las 18 temporadas en el Teatro Real de Madrid donde la orquesta lució sus mejores actuaciones. También formó parte integrante del Quinteto de Viento de RTVE,2 con el que interpretó más de 400 conciertos, grabando dos discos de compositores españoles tales como el compositor jerezano Germán Álvarez Beigbeder, Enrique Granados e Isaac Albéniz. En música contemporánea grabó con los compositores Luis de Pablo como por ejemplo Música española contemporánea, Vol. 6.,3 Cristóbal Halffter, Carmelo Bernaola, Tomás Marco, etcétera. Como oboe solista obtuvo la medalla de plata en el Festival Internacional de Música contemporánea de París gracias a su interpretación del Concierto para oboe de Agustín Bertoméu. Entre sus interpretaciones más célebres destacan los conciertos de Brandenburgo de J. S. Bach, la Sinfonía concertante de Haydn y la Sinfonía concertante para oboe, clarinete, trompa, fagot y orquesta de Mozart.4 Como concertista destacan el Concierto para oboe en do mayor de Haydn y el Concierto para oboe de Richard Strauss, siendo el primer oboísta español que lo interpretó en el Teatro Real.5 En la parte final de su dilatada vida artística desempeñó funciones como catedrático de oboe del Conservatorio Oscar Esplá de Alicante, enseñando a oboístas que en la actualidad forman parte integrante de orquestas de primer nivel.
Christian Tetzlaff Vogt Wolfgang Amadeus Mozart Lars Vogt Constanze Mozart 1756 1784 1791 2014
Christian Tetzlaff (violin) and Lars Vogt (piano) perform II. Andante from Sonata for violin and piano No. 32 in B flat Major, K. 454 by Wolfgang Amadeus Mozart +••.••(...)). March 30, 2014 Violin Sonata No. 32 in B-flat major (K. 454) was composed by Wolfgang Amadeus Mozart in Vienna on April 21, 1784. It was published by Christoph Torricella in a group of three sonatas (together with the piano sonatas K. 284 and K. 333). The sonata was written for a violin virtuoso Regina Strinasacchi of Mantua to be performed by them together at a concert in the Kärntnerthor Theater in Vienna on April 29, 1784. Although Mozart had the piano part securely in his head, he did not give himself enough time to write it out, and thus it was performed with a sheet of blank music paper in front of him in order to fool the audience. According to a story told by his widow Constanze Mozart, the Emperor Joseph II saw the empty sheet music through his opera glasses and sent for the composer with his manuscript, at which time Mozart had to confess the truth, although that is likely to have amused the monarch rather than cause his irritation. The work consists of three movements: Largo – Allegro Andante Allegretto The sonata opens with an exceptionally slow introduction, in which emphasis is put on the equality of the two instruments, kept throughout the entire work. The second movement has a melodic feeling of adagio, which was the tempo written down by Mozart at first, but then crossed out and marked Andante. In the development section there are bold chromatic modulations. The final movement returns to the playful mood of the first, but even so happens to be a very sophisticated Rondo.
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